Pia Gottschaller, from the Getty Conservation Institute, explains the challenge that Concrete artists from Brazil and Argentina faced in making the perfectly straight lines that characterize their work. Three main methods—straight edge, ruling pen, and self-adhesive tape—all leave tell-tale traces, observable through microscopy or even by the naked eye.

Zanna Gilbert, from the Getty Research Institute, and Pia Gottschaller, from the Getty Conservation Institute, show us how Brazilian artists such as Judith Lauand and Geraldo de Barros responded to increasing societal industrialization by experimenting with industrial paints and application methods that eliminated evidence of the painter’s hand.

Zanna Gilbert, from the Getty Research Institute, and Pia Gottschaller, from the Getty Conservation Institute, demonstrate how Argentine artists working in the 1940s broke the tradition of painting-as-window with shaped paintings (marcos recortados) and works that even pushed beyond the wall to blur the boundary between sculpture and painting.

Fátima González was an intern at the CPPC in the winter of 2016. A graduate student in critical theory at the School of Visual Arts and a native of Mexico, Fátima's interest in independent art spaces led us to help her develop a project researching them...

For each work in the Colección Cisneros there are countless stories waiting to be unearthed. Follow art detective Javier Rivero as he tackles the mystery behind 4 enigmatic watercolors from the 19th Century.

Nineteenth-century German artist Ferdinand Bellermann encountered a sublime landscape and ruined his shoes in Venezuela, as we know from the copious notes he took and the many pictures he made during his journeys.

In under three minutes, Rafael Romero outlines the lengthy 1886 voyage along the Orinoco River undertaken by explorer Jean Chaffanjon and artist Auguste Morisot. Morisot’s documentary sketches and photos create a retrospective travelogue.